One of the most significant indicators of the "nationality" of Pushkin's historical drama was its style. Being a syllable dramatic work, he demanded maximum objectivity, i.e., excluded the possibility of a direct intrusion into the verbal fabric of the author's voice.
Therefore, the only means of psychological and social characteristics characters of "Boris Godunov" is their own speech.
In Boris Godunov, she is free from any kind of genre and stylistic restrictions and has a variety of social, national and emotional registers unknown to Russian dramaturgy, ranging from the most “highest”, royal and tragic to the “lowest” - vernacular and vernacular.
The invasion of popular vernacular into the most “highest”, according to the aesthetics of classicism, drama genre was for its time the greatest and very promising “poetic audacity” of Pushkin, ironically emphasized by him: the original name of “Boris Godunov” preserved in the manuscript is “comedy”.
With regard to the syllable, the creator of the first in Russian literature " folk drama"far surpassed the author of the History of the Russian State and directly followed Shakespeare.
But he followed in his own way and, taking into account the experience of Karamzin, abundant in his historical narrative re-expressions - retellings of various annalistic evidence. Modernizing the syntax, grammar, vocabulary of these sources in accordance with the norms of contemporary literary language, Karamzin gives, however, to feel their stylistic tonality and "ancient" national flavor.
To be convinced of the significance that this experience had for Pushkin, it is enough to compare the enumeration of Otrepyev’s features in the “decree” read in the tavern by Varlaam with Karamzin’s description of Otrepyev’s appearance and with the corresponding excerpt from Kubasov’s Chronicler cited by him in the Notes.
Kubasov: “Rosstriga is small in age, having wide breasts, thick muscles, a face that is not royal property, a very simple denunciation, a velmy’s body is darkened; he is more witty and contented in book learning; impudent and eloquent Velmy.
Karamzin: “Having an ugly appearance - medium height, wide chest, red hair, a round, white, but completely unattractive face, blue eyes without fire, a dim look, a wide nose, a wart under the right eye, also on the forehead, and one arm is shorter the other - Otrepyev replaced this disadvantage with liveliness and courage of the mind, eloquence ... ".
Pushkin: “But he is small in stature, his chest is wide, one arm is shorter than the other, his eyes are blue, his hair is red, there is a wart on his cheek, another on his forehead ...”.
Following, as in many respects Karamzin, in the depiction of "passions" "truth" of Shakespeare's voluminous dramatic characters, Pushkin abandoned the hyperbolic character of their verbal expression, characteristic of Shakespeare, sometimes ornately sublime, in other cases basely rude.
In all Russian scenes of "Boris Godunov" the style remains true to the popular, according to Pushkin, stylistic principle " noble simplicity and artlessness." In this respect, the dramatic style of Boris Godunov is closer to the narrative style of Karamzin the historian than to the dramatic style of Shakespeare, and is immeasurably more economical and informative than both.
An example of the latter is the comparison of the monologue of Tsar Boris (“I have reached the highest power”) with the monologue of the Archbishop close to him in thought in the chronicle “King Henry IV” (part 2, act 1, scene 3).
Frantic, sophisticatedly rude expression, expressing the Archbishop's indignation at the ingratitude of the "stupid crowd", is opposed in Boris's emotionally restrained monologue by an abundance of accurate historical details testifying to the same "ungratefulness".
The noble simplicity of the style of the Russian scenes of Pushkin's tragedy is sharply and defiantly opposed, however, by the gallant-rhetorical style of her Polish scenes. According to the correct observation of P. V. Annenkov, demonstratively developed by A. G. Gukovsky, in these scenes one of the most significant creative tasks Pushkin's "folk drama" - a contrasting comparison national culture pre-Petrine Rus' with the contemporary revivalist culture of the "gentry" Poland.
The syllable of "Boris Godunov" also has its own social and individual gradations. The higher the place in the social hierarchy of the character, the more his speech is marked by the seal of ancient Russian "bookishness"; the speech of the representatives of the people is as close as possible to the vernacular contemporary Pushkin spoken language.
The latter casts doubt on the validity of the idea of speech characteristic An impostor as a person of Western, almost renaissance culture. Firstly, the syllable in which the Pretender expresses himself fully corresponds to his chronicle description given above. In addition, Pushkin emphasizes the "nationality" of his brightly individualized character. The impostor does not share Kurbsky's "fun" at the sight of the Russian border:
Russian blood, O Kurbsky, will flow!
You raised your sword for the king, you are clean.
Well I'm leading you to the brothers; i Lithuania
Called to Rus', I'm in red Moscow
I show the enemies the cherished road! ..
Pushkin even dedicated an entire scene, “Forest,” to the character of the Pretender, which he needed only for this purpose. Incomprehensible to the poet's Polish ancestor (Gavrila Pushkin) the Pretender's regret
About the horse! when all our troops
Smashed to dust!
- makes you see something related in the Pretender Prophetic Oleg, about which, in connection with his just written ballad about him, Pushkin wrote in January 1825: “The comradely love of the old prince for his horse and concern for his fate is a trait of touching innocence.”
In the scene "The Plain near Novgorod-Seversky", the national nature of the character of the Pretender is set off by the hostility of Godunov's common soldiers to their foreign superiors and sympathy for the "tsarevich". The scene ends with the remark of the Pretender, here called Demetrius:
"Hit the lights out! We won. Enough; spare Russian blood. Hang up!"
In the palace of Mniszka, with the gentlemen, with Marina, with the poet offering him poems, the Pretender speaks in a completely different language than on the battlefield, gallant language - but, it is understood, no longer in Russian, but in Polish. That's why he is "satisfied in book learning and eloquent velmy." By the way, the “Latin verses” presented to him by the Polish poet are not Pushkin’s fabrication, but historical fact marked by Karamzin.
By virtue of the national-historical and social expressiveness already inherent in him, the "syllable" of Pushkin's folk drama was a significant approximation to the narrative style of his fiction 30s
In the process of creating drama, studying the corresponding volumes of Karamzin's work, as well as Shakespeare's chronicles, Pushkin begins to think about general laws And driving forces stories. Karamzin touches on them only in passing.
So, his reasoning about what would have happened to the Muscovite state if Stefan Batory had not died before Godunov's accession ends with the following maxim: "The fate of the state is so dependent on the person and chance or Providence." Providence appears here according to tradition, and Karamzin's thought expresses dependence "on the person and the case."
A similar thought is vividly expressed in one of Shakespeare's chronicles, used by both Pushkin and Karamzin:
How they joke
Accidents, as in a bowl of change
Vicissitude pours various drinks...!
This problem was not reflected in Boris Godunov. But she got up in front of Pushkin in the process of working on the "folk drama".
Immediately after its completion, Pushkin wrote a comic parody poem "Count Nulin".
“The idea of parodying History and Shakespeare,” Pushkin testifies, “came to me, I could not resist the double temptation and wrote this story at two in the morning.”
Parody was often for Pushkin the first step or the initial form of his creative self-determination in relation to the subject of parody (see above about "Ruslan and Lyudmila"). In this case, it was dictated by the need to express one's own view of history and assumed not the denial of the factor of chance, but a different and more complex understanding of it than Karamzin and Shakespeare.
Contrary to the assertion of G. A. Gukovsky, Pushkin never denied the intervention of chance in the course of history. In 1830, criticizing N. Polevoy’s History of the Russian People, Pushkin wrote: “The human mind, in the popular expression, is not a prophet, but a guesser, it sees the general course of things and can deduce from it deep assumptions, often justified by time, but it is impossible for him to foresee the chance - a powerful instantaneous tool of providence.
Therefore, to believe that in "Count Nulin" "the arbitrariness of assumptions about possible accidents in history reveals its nonsense, frivolity, ridiculousness in the fact that this arbitrariness could only give rise to a funny anecdote and nothing more" is hardly solid.
Let's face it: the purposefulness of Pushkin's poem, playful in form and, of course, very serious in thought, remains largely a mystery. But it can be assumed that it expresses the poet's reflections on the vicissitudes of "human fate" and "people's fate", and in this connection his own - vicissitudes, equally often dependent on chance, far from always "guessed" by historians.
The true essence of the anecdotal "incident" described in the poem is unexpectedly revealed only in its penultimate stanza, in fact, only in the two final verses of this stanza:
Laughed Lidin, their neighbor,
Landlord of twenty-three years.
“Laughed” “most of all” and together with Natalya Pavlovna, knowing the true meaning of her story to her husband and “the whole neighborhood” about the incident that happened to her. And this meaning is hypocrisy.
Hypocrisy is one of the most essential character traits of Boris Godunov in his identical psychological interpretation Karamzin and Pushkin. Pronounced hypocrisy is also inherent in the vast majority of active heroes. historical chronicles and Shakespeare's tragedies. In addition (and most importantly): a hypocritical despot - this was, first of all, Alexander I in the eyes of Pushkin and the Decembrists.
It seems to us that political hypocrisy is the problem that binds into a single knot all the questions of history and modernity that worried Pushkin in his work on Boris Godunov and Count Nulin. And isn’t Pushkin himself cautiously hinting at this in a handwritten note about “Count Nulin”?
It begins with the words: "At the end of 1825 I was in the country"; and ends like this: “I have a habit of putting the year and date on my papers. "Count Nulin" was written on December 13 and 14. There are strange connections."
The question is: what with what? Obviously, the motives that forced Pushkin to write "Count Nulin", begun on the eve and completed on the day of the December uprising, with its outcome, about which Pushkin, being then "in the countryside", could not know anything, and "accidentally" - a hare running across the road, who prevented the poet from being among the rebels and sharing their fate.
In contrast to Shakespeare's Lucretia, Natalya Pavlovna gave a "slap in the face" to the unlucky Tarquinius - Count Nulin. Telling her husband and neighbors about this, Natalya Pavlovna says honest truth. But in the mouth of Natalya Pavlovna - Lidin's mistress - the same truth turns into sophisticated hypocrisy, falsely testifying to her supposedly unbreakable marital fidelity.
And Lidin, together with Natalya Pavlovna, “laughed” not at all at his own fiasco a rival, but over a slow-witted husband, enraged by the unlucky "feat" of Nulin and convinced of the marital fidelity of his unfaithful wife.
Now we can rightly
Say that in our time
Spouse faithful wife,
My friends, it's not surprising at all.
Such is the price of the judgment of history, whose unforeseen accidents are often hidden from the eyes of people by the hypocrisy of those who create it.
Four years later, Pushkin would write Poltava (1829), in which Kochubey and Iskra, loyal to him, would become tragic victims of Mazepa's hypocrisy, which betrayed Peter. And a few years later, Pushkin would dedicate a special poem, Angelo (1833), to the phenomenon of political hypocrisy, reshaping Shakespeare's tragedy Measure for Measure in his own way.
Speaking in one of the notes of the same time about the advantage of Shakespeare's many-sided characters over Molière's one-linear characters, Pushkin defines the psychological essence of his hero borrowed from Shakespeare as follows: "Angelo is a hypocrite - because his public actions contradict secret passions."
This is fully applicable to Natalya Pavlovna and other hypocrites of Pushkin - Boris Godunov, Mazepa, as well as to the "bald despot" Alexander I, which was the most important thing for Pushkin.
In "Angelo" Pushkin reveals in the highest degree the complex psychological mechanism of political hypocrisy, a parody of the historical action of which was the comic poem "Count Nulin". The essence of parody is in its bitter and hidden irony.
History of Russian literature: in 4 volumes / Edited by N.I. Prutskov and others - L., 1980-1983
One of secondary characters works is an elderly monk Pimen, who lives in the cell of the Chudovo Monastery, located in Moscow.
Pimen is presented as a poet in the form of a chronicler describing major events that took place in the country. The monk is depicted as a gray-haired old man in a strict cassock with a high brow of a humble, majestic appearance, reminiscent of a deacon, distinguished by a humble, meek disposition. In the image of Pimen, the features of infancy and wisdom combined with each other, endowed with a certain creative talent, are noted.
The turbulent youth of Pimen passes in noisy fun and joy at the royal court, where the young man manages to enjoy the delights of life, even participating in military battles. However, Pimen feels the long-awaited bliss only after taking a monastic vow, understanding all the pettiness of worldly vain life.
For my long life Pimen is a direct participant in many historical events in Russia, during the reign of Tsar Ivan the Terrible, becoming an unwitting witness to the murder of the young Tsarevich Dmitry in Uglich and the accusation of Boris Godunov of an attempt on the life of the Tsarevich, participating in the battles under the Kazan towers and repelling the attack of the Lithuanians during the Battle of Shuya.
The poet characterizes Pimen as a caring person who understands well the consequences of evil insidious deeds and considers good as the greatest human happiness. He has a negative attitude towards Boris Godunov, arguing that his ascension to the royal throne is an act committed against God and popular will a man who has gone through murder. Displaying in chronicle tragic events, Pimen tries to describe them as truthfully and restrainedly as possible.
The basis of bliss for Pimen lies in faithful service to the divine principle, reflecting on eternal peace and concentrated on the work of writing a chronicle, in the creation of which he sees his true human destiny, since Orthodox descendants must know the fate of their native land. Pimen creates his chronicle with special inspiration, experiencing extraordinary creative joy.
In the image of Pimen, the poet reveals the collective features of Russian chroniclers, characterized by simplicity, touching meekness, touching good nature, piety, creating breathing precious monuments of past times for grateful descendants.
Option 2
Pimen - important character works of Alexander Sergeevich Pushkin "Boris Godunov". This is a humble old man, a monk with noble origin. In his youth, Pimen probably served in the army of Ivan the Terrible, since in the drama one can notice the words that Pimen at one time had a chance to see "the courtyard and luxury of John."
Pimen, in all likelihood, was not a simple warrior. Education markedly distinguished him from others. The abbot says that Pimen is a literate man, who read the monastery chronicles and wrote canons to the saints. All this directly tells the reader that in front of him is a difficult, educated, intelligent person with a talent for writing.
Pimen is busy writing a chronicle, the writing of which he considers his duty to the Lord. However, the chronicle remains unfinished, ending with a legend about the death of Tsarevich Dmitry. Conscience and good-heartedness do not allow the monk to write further, since he little, in his own words, "delved into the affairs of the world." But Pimen does not agree to trust the rumors.
Pimen is filled with love for his work, thanks to her he seemed to come to life again, felt a certain new meaning life at an advanced age. And, of course, he cares further fate annals, he would like to give it to skillful hands to continue. And the choice falls on Gregory. Pimen gives him instructions, advice on how to continue his chronicle, but Gregory is not happy with his position. Pimen paternally reassures the novice, saying that luxury and wealth can captivate people only from afar, true peace cannot be found in the world.
Pimen is a deeply religious person, and this feeling goes well with his inner meekness. He doesn't get angry at anyone, he doesn't judge anyone. He sees the will of God in everything. Pimen does not condemn sinful kings with their cruel deeds; on the contrary, he prays to the Lord for indulgence towards them. The cause of the disasters that occurred during the reign of Boris Godunov, Pimen sees in the punishment of the Almighty, they say, it was not worth choosing a regicide as ruler. But, at the same time, according to Pimen, the king is the anointed of God, then a man, above whom only God. And if so, then who dares to tell the Tsar? The king can do anything.
Pushkin took Pimen not the best big role. But the author hit the target - the image of the monk remains in the reader's memory for a long time.
Composition The image of the monk Pimen
From the most ancient times, there were people on our land who recorded all the events that happened to the country, and these people were called chroniclers. Pushkin, according to him, was very worried about the nature of these people: a humble, simple-hearted, sincere character. So he tried to realize such a person in his tragedy Boris Godunov.
Our chronicler's name is Pimen. Pimen is an old monk who has long abandoned his former life and humbly, as Pushkin spoke of the character of all chroniclers, writes his works. Pimen lives in the Chudov monastery in Moscow. Pimen considers it his duty to write a chronicle, he writes it even at night, without falling asleep at all.
It is noteworthy that in the appearance of Pimen lies the characteristic of Pushkin that he wanted to give: Pimen is humble, in his face it is not clear what he thinks about, what his views are and in what state. The old monk is so neutral to everything, as if indifferent, that impulses of emotions are not visible in him at all, he is on his own mind.
As I said earlier, Pimen came to the monastery not from a young age, but already at adulthood when he has outlived a large piece of his life in the "world". In his youth, he was by no means a novice or a theologian. His youth was, on the contrary, turbulent and trembling. Monk-chronicler served under tsarist army and was even close to the royal court. He went through the war and the military regime in his life, which often appears to him in a dream, as a reminder of his past adventures. Pimen himself believes that in his past life he saw many blessings and pleasures, but he truly found happiness when he came to the monastery, when God brought him to the monastery and gave him a vector in life, gave him a new meaning to this life, allowed him to touch the great - to faith and religion.
Pimen really had a stormy youth, because he caught both the reign of Ivan the Terrible, which he passionately talks about, and the murder of Tsarevich Dmitry, which is an integral part of the main plot, because it is Pimen who is appointed mentor to Grigory Otrepyev. Pimen and tells his student that Boris Godunov killed Tsarevich Dmitry with his accomplices. And Gregory decides to take advantage of this and, due to the fact that he was the same age as Dmitry, declares himself the surviving prince.
Description of the presentation on individual slides:
1 slide
Description of the slide:
A. S. Pushkin drama "Boris Godunov". Scene in the Miracle Monastery. Literature lesson in grade 7 Two feelings are wonderfully close to us - In them the heart finds food - Love for the native ashes, Love for the fatherly coffins A. S. Pushkin.
2 slide
Description of the slide:
Objectives: to give an overview of the drama "Boris Godunov"; introduce students to a fragment of the drama; to deepen the understanding of dramatic genres; develop analysis skills poetic text, comparative analysis text, expressive reading skills, develop Creative skills students. Methodological techniques: the teacher's story, the implementation of interdisciplinary connections with history, expressive reading, vocabulary work, work with illustrations, elements of text analysis. Lesson equipment: illustrations for the drama "Boris Godunov".
3 slide
Description of the slide:
In 1584 the Russian Tsar Ivan the Terrible died. His son Fedor ascended the throne, distinguished by a meek disposition, piety, who did not have great intellectual abilities and was not very suitable for the role of ruler. huge country devastated by oprichnina terror.
4 slide
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5 slide
Description of the slide:
After Ivan the Terrible, there was one more son left, the little Tsarevich Dmitry, who was sent with his mother to the city of Uglich on the Volga.
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Here in 1591 there were terrible events, the mystery of which has not yet been solved. The eight-year-old prince, who suffered from seizures of epilepsy (falling), playing with the children with knives, suddenly began to beat, roll on the ground - and killed himself with a knife (so it says official version). But rumors spread throughout the country that Boris Godunov, who had sent assassins to him, was to blame for Dmitry's death.
7 slide
Description of the slide:
After Fyodor Ioanovich died, the Rurik dynasty came to an end. Godunov, who showed himself to be a skilled ruler, was elected to the kingdom. Many were dissatisfied with his election. Among them are the Romanov boyars, the Shuisky princes. In addition, the reign of Boris was unhappy. Because of three lean years, a terrible famine struck the country, peasant revolts broke out, and boyar conspiracies were arranged.
8 slide
Description of the slide:
In 1603, a rumor reached Moscow, which was soon confirmed that a man appeared in Poland, posing as Dmitry, who had miraculously escaped. It was a runaway monk of the Chudov Monastery, Grigory Otrepiev.
10 slide
Description of the slide:
WITH early XIX century in Russia, interest in own history. The "History of the Russian State" by N. M. Karamzin appeared. A. S. Pushkin knew and appreciated his work. He could not pass by such a plot as Time of Troubles- period civil wars and foreign invasions, which began with the appearance in Poland of the Pretender. N. M. Karamzin
11 slide
Description of the slide:
Read the article of the textbook "Pushkin the playwright". Answer the questions: What topic is A.S. Pushkin in the drama "Boris Godunov"? Why are Pimen's words about Boris perceived as an echo of the formidable "opinion of the people"? What does the literary critic G. Fridlender write about Boris Godunov? What character traits are based on Pushkin's image of the Pretender? Who is a patriarch? (write down the interpretation of this word in your notebook. Work with the textbook.
12 slide
Description of the slide:
Scene "Night. Cell in the Miracle Monastery” is the fifth episode of the drama. It is located at the very beginning of the work. Characters- Father Pimen and Gregory. Pimen appears only once, in this episode. It was after a conversation with Pimen that Grigory came up with a seditious and daring thought - to impersonate the deceased Tsarevich Dmitry and overthrow the power of Boris Godunov.
13 slide
Description of the slide:
Deepening the understanding of dramatic genres. DRAMA - (gr. drama - action) - one of the four literary genera, involving the creation artistic world literary works in the form of a stage performance (performance). In another sense, the term "drama" refers to one of the genres of dramaturgy (as opposed to comedy and tragedy). DRAMATURGY - the collective name of all literary works intended for stage embodiment in the theater. Tragedy is the opposite of comedy. Dramatic genre, which is built on a tragic (initially insoluble) conflict between the hero and circumstances, or on an equally irresolvable conflict of internal motives in the hero's soul.
14 slide
Description of the slide:
Reading the fragment "Scene in the Miracle Monastery" Dictionary work. CHARTER - an old manuscript, a document. VECHE - in Ancient Rus' meeting of the townspeople. DYAK - in ancient Rus', an official who manages the affairs of an institution. ORDER - an institution in the Muscovite state of the 16-17th centuries. KROMESHNIKI - guardsmen here (according to ancient concepts, sinners, whose souls after death will be placed in hell). IGUMEN - abbot of the monastery. ALQUE - to desire strongly. A VOW is a solemn promise, an obligation. SCHEME - a monastic rank that imposes the most stringent rules. ZANE - because, since. DAY - now, today; now, at present. PRISNO - always, at all times. OTROK - a teenage boy between the age of a child and a young man. INK - an Orthodox monk. cell - separate room monk in a monastery.
15 slide
Description of the slide:
Characteristics of heroes. Questions about the image of Pimen: - By what means does the author draw the image of the chronicler? - How Pimen is characterized own words? - How does Pimen feel about his work as a chronicler? - Were sins characteristic of Pimen in his youth? - Can we briefly restore Pimen's biography? - What event changed the fate of Pimen? - How does Pimen feel about Gregory? - How does Pimen's attitude towards Gregory characterize? - How do Grigory's reflections and reflections characterize Pimen? - Is Grigory right when he compares Pimen with a deacon who "knows neither pity nor anger"? - What are the features of the chronicler's speech? - Is it only Pimen who blames the kings for the crimes? - What is interesting for you in the appearance and character of the chronicler?
16 slide
Description of the slide:
Characteristics of heroes. Questions on the image of Otrepiev. - Can Gregory's dream be called prophetic? - How does Gregory's dream reveal his ambitious plans? - What was the reason for the decision of Gregory to impersonate the heir to the throne Demetrius? - What feelings are imbued with his attitude to the past brilliant life Pimen at the court of Ivan the Terrible? - What words of Gregory indicate that he is ready to continue the chain of crimes - How does Gregory justify his desire to become an impostor? Gregory. Artist V. Favorsky. 1944–1955
17 slide
The chronicler is an important character in Alexander Pushkin's drama "". This man appears in only one scene, but has great importance. His speech is a storehouse of historicisms and figurative phrases. Analyzing his speech, we come into contact with the era that he describes in his annals. We present you a small dictionary of words and phrases characteristic of speech central hero plays. Here you will find both the meanings of individual words and the meaning of individual expressions.
1. "Tale" - a narrative in prose that has a legendary or historical plot. In this case, a chronicle reflecting historical events is meant.
2. " book art enlightened” - He led me to understand how to write a book correctly.
4. “Shaking off the dust of centuries from charters” - you can literally understand how to wipe old dust from a manuscript. Because a charter is an important document, an old manuscript or the material on which it is written. The dust of centuries speaks of the age of the manuscript.
5. "Let descendants know" - so that future generations will know. To know - to know; descendants are people of future generations.
6. “In old age I live again” - the word “again” means again, again. Find a new meaning to life in old age.
7. "The past passes before me" - the events of past years appear in the form of images in front of him.
8. "Sea-Okiyan" is a folk poetic expression. This refers to the boundless, immense expanse of water.
9. "Young blood plays" - excess vital energy characteristic of young people. In this case, it is implied that the young man is thirsty for adventure.
10. Crazy fun young years!" - Crazy entertainment in youth.
11. "Do not complain" - Do not complain.
12. "Women's crafty love" - Insincere love of a cunning woman.
13. “I know bliss” - To know spiritual happiness.
14. “The golden crown became heavy for them: They exchanged it for a klobuk” - The golden crown is a golden crown worn by kings. IN figurative meaning it is understood that the royal fate may not be easy, not everyone can cope with the duties of the king. They exchanged it for a klobuk, which means that some kings left the throne and went to the monastery. Since the hood is a hat of a monk, a hat of humility.
15. "The insignificance of worldly vanities" - everyday worries do not have great value. For a monk, such worries are no longer of value, only spiritual pursuits are important.
16. "Lord" - a ruler endowed with unlimited power. In this case, the Russian tsar is meant.
17. "Named" - appointed, given authority.
18. "Describe without further ado" - describe without your own comments. In the work, the chronicler instructs his student in this way. He says that the chronicle should be written in impartial language, truthfully.
19. "Royal palaces" - Luxurious building, palace, possessions of kings.
20. "Sighed about the peaceful life of the Silent" - dreamed of a quiet life as a monk.
